Second skin, a static non static proposal inspired by Lamentation, the grieving piece by Martha Graham




Vertigine magazine presents Second Skin an intense multimedia performance, inspired by Lamentation, the grieving piece by Martha Graham.

A lot of projects are born after coincidences…

Second Skin is a static non static proposal inspired by Lamentation, the grieving piece by Martha Graham in which the leitmotiv is not just mourning but also the relationship between architecture, dance and definitely a homage to the very embracing of sorrow.

Based on that, this piece took place at Monumental Cemetery in Milan where the tombs have an invisible but very noticeable sound. The intention of the performance was to experiment with a very simple costume that acted like a gauzy second skin, trying to get out and being in the interstice. The movement was the most important part as result, approach and evidence of dealing with that membrane. That is why the visual reflection is related to stopping a span of time, documenting this dance and using the body contours as echo of the action.

The accompanying sound is made out of three layers, is a compilation of the sound of the cemetery, the sound of exit mechanisms such as zippers and a passage in which Martha Graham herself explains how the tragedy absorbs the body until seeing pure wailing on the surface.

Vanessa Rueda





















Art Direction : Mayra Sartori, Oana Juganaru,Vanessa Rueda

Photography :Vanessa Rueda

Performance: Shuo Wang

Voice: Martha Graham

Music Daniel Prieto, Daniel Arenas ,Vanessa Rueda

for Vertiginemagazine

Venue Cimitero Monumentale Milano


A sangue freddo 2# a Performance by Silvia Costa , at Uovo Perfoming Art Festival 2015

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Silvia Costa is one of the most inspiring perfomers and director in the italian scene, she has taken part in important theatre an opera productions at international level

Vertiginemagazine has been  fascinated  by the performance “A sangue freddo 2#” , a short performance especially conceived for the last edition of Uovo Perfoming Art Festival in Milan.  Starting from the images of her own exhibition “A sangue freddo 1# “showcased during the festival, A sangue freddo 2#, is a conceptual piece, where the body portrayed in the photography serie  by the artist, becomes a temporal appendix to the a process of disintegration of the different layers. The  bidimensional  coreographic  effect of the two performance on stage invites the public to observe the human body in its parts and in its morphology.

Intimate, delicate, and with a deep  poetic  physical tension , Silvia Costa’s  gaze is like  a sharp and pitiless scalpel..

all photos by Lorenza Daverio, courtesy of UOVO PERFOMING ART FESTIVAL

Catching the most poetic moments in which the language of fashion and dance came together, as a source of mutual inspiration.



Merce Cunningham: Scenario, costumes Rei Kawakubo, illustrations by
Jiang Yinxi

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“A dancer’s life must be the most exalting thing in the world and the most excruciating. But, to have performed on arc of arm, one moment of beauty, one something…”  in the words of Diana Vreeland  ,  December 1967,  Vogue America, in occasion of  the  editorial “Nureyev a photographic study of the human form in action  , by Richard Avedon .The woman who had enormous influnce over fashion from 1936,  has undoubtedly guessed before others, that the dance would have been the muse of many collections. She studied dance since childhood with Fokine, dancer and choreographer who has been part of the Russes Ballets . She particularly remembered coreographer Sergei Diaghilev, whom she said changed ballet as well as Vaslav Diaghilev,  according Diana Vreeland intuition    “Diaghilev and his Ballets Russes had an enormous impact on fashion, the first great twentieth-century couturier, Paul Poiret, got many of his idea from Diaghilev, thanks to the naturalness of the body, that’s the most important thing he did, hard corsets disappeared overnight, and everyone was in a practically transparent chemise”.

From Léon Bakst costumes for the Ballets Russes, brought to Paris by Sergei Diaghilev, to  the  Coco Chanel’s costumes for “Le train Bleu”  comissioned by  her friend, the russian ballet coreographer Diaghilev, the  contaminations between fashion and dance started really early.

The Orientalism of the Ballets Russes has influenced a lot of generations of fashion designers. After Poiret, Yves Saint Laurent, fascinated from the east  art and culture, created a collection inspired of Ballet Russes, in 1976.  Arriving to Pina Baush, the late German modern dancer and choreographer  celebrated  in 2011, as one of Yohji Ymamoto’s women in occasion of Victoria & Albert’s retrospective.

Yohji Yamamoto’s collaboration with Pina Bausch being the perhaps most well-known, but the relationship between dance and fashion has become, gradually, more and more narrow.

Hussein Chalayan in his collection ” Before Minus Now S/S 2000” inspired tutus of the dancers.

The collection featured a series of airplane technology-inspired remote-controlled kinetic dresses. In particular, one dress was operated by a remote control that could lift the rigid flaps of the dress, revealing a froth of pink tulle underneath.

McQueen for the collection S/S 2004 “Deliverance” has created a real show dancing on stage at the Salle Wagram. The performance was a funny evocation of the film of Sydney Pollack’s “They Shoot Horses, Do not They?”, Choreographed by Michael Clark. The girls, dressed in silver lamé, sequined bodices and huge skirts of feathers, circling on the dance floor.

Nicholas Ghesquière for Balenciaga collection S/S 2013 was inspired by the drama of flamenco, evident in the two-tone flounced skirts.

Rick Owens for S/S 2014 collection was inspired by the dynamism of African-American steppers. He created an innovative collection, that exalts a new idea of beauty, more rude, angry and provocative. He places emphasis on the problem of aesthetic diversity and racial minorities. In place of the usual models, the designer chose four teams of dancers step African-American, who gave life to the stage in a real live performance.

Viktor & Rolf for the haute couture collection S/S 2014, created a performance: dance as a tribute to the movement and the beauty of the female body.

On the catwalk no models,  but there are professional dancers of the company Het Nationale Ballet.

The protagonist is the relationship between skin and clothes. The designer duo used  a specially treated latex to create the pieces: draped, fluid ballet dresses and leotard hybrids; little wrap dresses or bodies with skater skirts. Trompe-l’oeil drawings of flakes, ruffles, ribbons and birds become tattoos on the body. They wanted latex that was as light and ethereal as chiffon.

Fashion designers are also increasingly collaborating with choreographers to create stylish new dance costumes.

For the New York City Ballet ‘s 2012 Fall Gala was asked several designers to create dresses for the shows. Valentino for the Bal de Couture has created elegant ball gowns waltzes.

Laura and Kate Mulleavy of Rodarte created tutus for The Black Swan by Darren Aronofsky.

From close collaboration between designer and choreographer were born the dresses by Comme des Garçons for Mercè Cunningham. Kawakubo costumes  bring inside with the idea of physical distortions, such as humps and big rear ends. For much of the dance, five or six dancers twist and pose, each in his or her own space, with a rush of additional dancers to the stage toward the end of the performance.

Brigitte Lefèvre, director of dance department of the Opéra national de Paris, asked Riccardo Tisci to design the costumes for Ravel’s Bolero, on stage at the Opera Garnier in Paris.

Tisci thought that to create clothes for a ballet was the dream of every designer. The idea of the designer was that the dancers had the feeling of being naked: they wore suits tight flesh-colored tulle with embroidery in white lace which designed the structure of the human skeleton. While dancing, the dancers are transformed into dancing skeletons, strong and fragile at the same time.

This mutual influence between fashion and dance will continue to exist and to give us performance of pure art.

Vertiginemagazine presents an illustrations serie, catching the most poetic moments in which the language of fashion and dance came together,

as a source of mutual inspiration.

text by Stefania Seoni and Viviana Dell’Orto



Nureyev “a photographic study of the human form in action”  , by Richard Avedon , Vogue America, 1967, illustration by  Guo Xuan









Hussein Chalayan ” Before Minus Now S/S 2000” inspired tutus of the dancers, illustration by Simone Antonini



Tribute to Maya Plisetskaya , Cecil Beaton, for Vogue America 1964, illustration by Jang Yinxi



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Martha Graham , illustration by  Guo Xuan




Trisha Brown dance performance illustration by Guo XuanJiang Yinxiillustration by Jiang Yinxi,inspired by her own photo





William Forsythe, costumes Gianni Versace, illustration by Guo Xuan

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McQueen for the collection S/S 2004 “Deliverance” The performance was a funny evocation of the film of Sydney Pollack’s “They Shoot Horses, Do not They?”, illustration by Simone Antonini

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Dancer Molissa Fenley wearing Comme des Garcons spring/summer 1983, by Robert Mapplethorpe, 1983, illustration by Jiang Yinxi


Viktor & Rolf for the haute couture collection S/S 2014, ody, illustration by Simone Antonini.

On the catwalk no models,  but there are professional dancers of the company Het Nationale Ballet.


Ramona Nagabczynska, Re//akumulacja

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Vertiginemagazine,  attended Uovo Perfoming Arts Festival 2015, and discovered the amazing Ramona Nagabczynska.

Presented for the first  time in Milan,  in the occasion of Uovo Perfoming Arts Festival 2015  , one of the most interesting Perfoming  Art Festival in Europe,   Re//akumulacja, is a commissioned  opera, of the young and well known  in the international scene, polish coreographer Ramona Nagabczynska.

Paying tribute to the legendary solo work “Accumulation”, by Trisha Brown, an icon of American post modern dance , which subverted traditional codes of dance, Ramona Nagabczynska opened up to the opportunities offered by technology, reinterpreting Accumulation with a strong visual impact, where the dancing body tells a story made of echoes, quotations and translations , building  on an amazing powerful  Domino of movements.

All photos courtesy by Lorenza Daverio, thanks to Uovo Perfoming Art Festival.

Reinventing Yoga as a Dance



Vertigine, presents the collage serie by Federica De Stefano ,

Federica  has reintrepreted the Yoga positions , taking inspiration from one of the first editorial appeared in Vogue America  in 1969, (under the direction of Diana Vreeland), Vogue captured the attention of thousand of people outside the usual fashion audience, with one of the first editoriali focused on Yoga.

Federica artworks feature  a  dramatic couture , with a deep poetic  narrative.

all artworks by Federica  De Stefano for Vertiginemagazine





A tribute to Pina



Pina  Bausch is a beautiful woman. She is also obsessive, exhausting, elusive, occasionally infuriating and magnetic. This German queen of dance theatre fixes her subjects with deep-socketed blue eyes and, well, they melt. Dancers fall in love. So do audiences, who greet her work with ritualistic slow clapping. On their feet. Twenty-minute curtain calls. Pina grips her dancers’ hands. She gazes into the auditorium, her pale face a mixture of gratitude and exhaustion.

Valerie Lawson


all artworks by Rosa Giurlanda

The timeless poetry of the damage, Bouke de Vries

Bouke de Vries, London-based Dutch sculptor , is first a poet , his artworks reflect the  true value of time, the imperfections become  a new timeless  beauty , using shattered or chipped tea pots and Limoges figurines to create humorous new works created out of “floating shards” (held in place by clear Lucite spines).

Bouke de Vries 1

Bouke de Vries

The philosophy of repairing an object, so that the damage is celebrated as part of the object’s history, was one of the starting points of your works; like in the Japanese technique, Kintsugi, there is the idea of making peace with the cracks after an object has been broken. How would you describe your relationship with the sense of time, and the idea of being timeless?


Coming from a background as a ceramics conservator, I become more and more aware of the incongruity of repairing an object to a level where it is not possible to tell that it has ever been damaged, covering up what has happened to it. This becomes a denial of its history and turns the object into something that it isn’t. When I first came across the Kintsugi technique of gold repairs it struck a chord with me immediately: it makes the   damage part of the object’s history, appreciating that a piece can change through time and still keep its history  and its integrity. This was very much the starting point of the works i make now.



1554572_10152210854414181_1356682555_nBouke de Vries 2


Is there a place you like to visit to be inspired by research into objects?

London is a perfect hunting ground for research for my work, from the street markets to the great museums. Among these, the Victoria and Albert Museum holds a special place for me, with its huge variety of collections. Also I worked there as a student and experienced museum life behind the scenes.


Is there any special experience from the past that has made you who are you today?

All of life makes one what one is today but.


How would you define the word ‘beauty’?

Beauty is indefinable. It’s personal, a reflection of the observer. It’s random. It can change with time, both positively and negatively. Only you know.


Can you tell us about your recent projects?

Last year I was part of the ceramics biennale in Taiwan, an amazing opportunity to see my work alongside contemporary exponents of ceramic art. In february I had a large solo exhibition at the Chateau de Nyon outside Geneva. That occupied most of last year and became an overview of the past five years, including borrowing works from collectors, reworking earlier pieces, and works inspired by the permanent collection of the Chateau. And I have finished   a new group of works to be shown at the Tefaf fair at Maastricht with Adrian Sassoon. Currently  I’am in the collective exhibition  My Blue China  at Fondation d’Entreprise Bernardaud, the foundation was  set up in 2003 with an aim of broadening the use of porcelain beyond tableware, Fondation d’Entreprise Bernardaud has been actively supporting artists and other creatives in their exploration of the material as an artistic medium.




all the photos courtsey of the artist and Gloria Maria Gallery

Tales of Blue


“ Tales of blue “ by Ivan Minuti and Stefania Seoni, is  inspired by the the  movie  “Tales of ordinary madness” by the  italian film director Marco Ferreri,  starring Ben Gazzara as   Charles Bukowski   during a reading ,  where he stated his own definition of style, really close to Vertiginemagazine spirit .




Vertigenemagazine, born from the idea to share different languages,

different contamination between fashion and arts,

creating a sense of Vertigo, that for us means freedom,

creativity, curiosity, inspiration,

coming up with a new approach, involving a new imagination,

connecting the dots,  a new way to look for a visionary beauty.

In the first issue, this contamination touches Dance,

a  world connected to fashion expressions, opening the eyes to receive sparks, intuition, visions.

If you will find yourself attracted,

you will  feel Vertigine!Jiang Yinxi 1

Ver•ti•go (ˈvɜr tɪˌgoʊ)

n., pl. ver•ti•goes, ver•tig•i•nes (vərˈtɪdʒ əˌniz)

1. a disordered condition in which one feels oneself or one’s surroundings whirling about.

2. the dizzying sensation caused by this.
3. a disease marked by vertigo.
< Latin vertīgō whirling movement, dizziness =vert(ere) to turn (see verse) + -īgō n. suffix]





Photos by Jiang Yinxi for Vertiginemagazine

Concept  by Edoardo Pizzocheri

Dress concept by  Stefania Seoni

fifty vintage shirts, assembled without seams

Dress project and making of  by Oana Juganaru

Model Min Ha

venue  the metaphysical poetry of  Cave di Botticino






Crossing the boundaries between Fashion and Dance.
A crescendo of movements and sounds brings to a final freedom and body expression.


concept      Simone Antonini

shooting-editing   Gabriele Spallino, Gianluca Busani

photography   Gabriele Spallino

audio mix  Aldo Lanzini

costumes  Clarissa Gusmao

make up  Federica De Stefano

dancer  Giorgio Colpani

coreography   Silvia Maraglino

assistant  Viviana Dell’Orto


Special thanks to Assab One